A quantity of Atlas Editions etc. A North American Hawthorn Village Locomotive set, an American narrow gauge HO scale train set comprising a traditional Wild West 2-6-0 tender locomotive with cow catcher in green, maroon, silver and black livery, with bogie tender and 3 coaches, plus a good quantity of track. Also another similar tender locomotive in silver/gold finish, coach and 2 bogie flat wagons and track. Together with a collection of Atlas Editions Locomotive Legends series. Including- Southern Battle of Britain class Winston Churchill, BR Britannia class Britannia, BR 9F Evening Star, LNER Green Arrow, LMS Royal Scot, GWR Castle Caerphilly Castle etc. Plus continental examples – Saint-Gothard C 4/5 class, DB 01 class, SNCB 12 class, PLM Mountain class, Union Pacific FEF class, Reading RR Camelback, P8 class, etc, 18 in polystyrene boxes, plus other loose examples. (27). VGC-Mint light cleaning required. Complete with many information leaflets.
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Williamson G45 Aircraft Gun Camera. Probably from a Spitfire or similar, fitted with a 'Short Lens', both parts showing the Air Ministry mark. Original film cassette present and packed in makers box with inner packing; A WWII German army belt. The buckle (worn) shows a German eagle atop a swastika and with laurel leaves below. The words "GOTT MIT UNS" (God is with us) are around the top; a British army compass, dated 1940 and with the W.D. arrow mark; A WWII microphone No.7 with earphones, etc
A collection of sterling silver and white metal items to include a Charles Horner, Chester silver thimble, a vintage, sterling silver and marcasite kangaroo brooch, a sterling silver and crystal set dragon brooch, a silver ring, a diamante arrow pin brooch, a sterling silver St Christopher, round, charm pendant engraved 'ELM 1935' on reverse, a carnelian brooch and four pairs of stud earrings. (QTY).
A collection of military and GPO issue watches and stopwatches and one compass to include: RN issue stopwatch with large broad arrow marking and No.115205 by Boodle & Dunthorne, Liverpool: GSTP Broad Arrow 205954 glass a//f: WW1 WD marked 1918 dated Compass by Terrasse & Co: NATO stores marked stopwatch 6645-99-520-9365 1840/91 max run one hour: WW2 Air Ministry marked stopwatch 6B/ 117: and three GPO marked stopwatches. (8)
A Japanese Meiji period carved ivory okimono. Formed as a female samurai with a sheathed sword by her side, holding an arrow and with a quiver on her back. Raised on a turned hardwood plinth, 24.25cm. Condition Report. To be used as a guide only. Loss to the arrow in her hand and also one in the quiver.
Three early 19th century pearlware figures and one prattware example. Modelled as a gardener, archer, tiger and the Prattware figure formed as a man playing a fiddle, largest 18cm (4). Condition Report. To be used as a guide only. All with slight damage. The tiger with repair to the bocage. The fiddle player with a section of the base re glued. Female archer with a crack to the reverse of the base, slight loss to the bocage and to the tip of the arrow in her hand.
British Pattern 1907, 1909 Dated, Bayonet With Hooked Quillon by Sanderson. It is stamped on the blade at the ricasso on one side with a Crown over "E.R. 1907 09" (September 1909) and the makers name “Sanderson". The other side is stamped with the War Department 'Broad Arrow' and several inspection marks- NOTE: Please read 'Important Information' contained in LOT 76 before bidding on this lot - Est £40 - £60
Mary Swanzy HRHA (1882-1978)The StormOil on canvas, 63 x 76cm (24¾ x 30'')SignedProvenance: From the estate of P.J. Mara; originally in the collection of Pat and Antoinette Murphy and sold by them at their inaugural exhibition at the Peppercanister Gallery in October 1999. The artist told Pat Murphy that the two figures in the maze represented the artist and her sister. Exhibited: 'Analysing Cubism Exhibition', IMMA Feb/May 2013, The Crawford Gallery,Cork June/Sept 2013, The FE McWilliam Gallery, Banbridge, Sept/Nov 2013; ’Opening Exhibition of Irish Art’ The Peppercnnister Gallery October/November 1999 Cat. No. 1 where purchased. (Illustrated front cover of the catalogue). Literature: 'Analysing Cubism', The Crawford Gallery, Full page illustration p.96.Julian Campbell has linked the large constructions in The Storm including to that of Semur-en-Auxois, a town in Burgundy. This is, according to Campbell, the equivalent to Pablo Picasso’s Horta de Ebro, the Spanish mountain top town that inspired several of his key cubist landscape paintings. Semur is a medieval city built on an outcrop of pink granite and famous for its ramparts and towers. It is dominated by an imposing fortress, whose features can be detected in The Storm. The centre of the painting is made of a series of vortexes made of geometric configurations of light. These swirling forms swirl over the battlemented city flattening and fragmenting its solidity into facets of radiance and colour. These create a sense of speed and movement akin to the experimental style of the Italian Futurists, whose work Swanzy would have seen in Florence where she lived briefly before the World War One. The centre of the city struck by stylized rods of lightning which can be seen darting across the surrounding hills. This dramatic vision of a storm is presented as seen from above as though from an airplane or some celestial vantage point. Fascination with force and speed and the aeronautical perspective became fashionable amongst avant-garde artists in the 1910s and 1920s through the influence of futurism and Orphic Cubism, the colourful style associated with the work of Robert Delaunay and Sonya Terk. Their work was shown at the Salon des Independants in Paris before the war at a time when Swanzy also participated in the exhibitions. Many of Swanzy’s cubist inspired works of the late 1920s and 1930s reveal her keen understanding of this aesthetic which sought to transmit the energy and sensation of living and seeing in the modern age in images of flight and of the city. In this work Swanzy replaces the ubiquitous symbol of the Eiffel Tower, preferred by Delaunay, with the medieval town. A Storm also takes a slightly different perspective to that of Orphic Cubism in its inclusion of tiny figures. Two can be seen in the bottom centre of the composition, struggling to keep their balance on the rampart walkway. These signal the future direction of Swanzy’s work which be the 1940s was moving away from Cubism towards more imaginary themes. As early as 1934, roughly around the time this work was painted, a review of an exhibition of her work in London, described Swanzy as a ‘Surrealist working in a Cubist convention’. In The Storm the Surrealist aspect is most notable in the large arrow that lies embedded in the centre of the cylindrical forms of the city. This play on proportion and scale adds a dimension of mystery to the painting suggesting the destruction of the citadel and the terror of its citizens. Dr Róisín Kennedy
An Edwardian gentleman's horn and bamboo sword stick, 72cm pointed cylindrical blade, crook-shaped horn handle with yellow metal mounts chased with foliate scrolls, 88cm long overall, c. 1910; an early 20th century British Colonial military pith helmet, stamped 162 WD O with department arrow, c. 1930 (2) Condition Report: The sword stick with rusted blade, loss to mounts & tip, some scratches and stable splits to bamboo; the pith helmet in fair condition with some fading, broken leather strap and signs of light wear.
A collection of edged weapons, including: three German S98/05 bayonets, one with scabbard and one a saw back variant; a Swiss model 1899 bayonet, with scabbard; three other bayonets; a Second World War escape axe of aircraft type, with broad arrow mark; a Congolese knife with leaf shaped blade and wire bound hilt; a Central Asian short sword with open sided scabbard; and a Zulu type axe. [11]
The historic peacock cap feather of Ye Mingchen, governor of Guangdong during the early stages of the 2nd Anglo-Chinese war (the 2nd Opium War), taken as a trophy by Captain (later First Sea Lord) Astley Cooper-Key, following Ye's capture in January 1858. Ye Mingchen was the Chinese governor of Canton who devoted himself to resisting British mercantile and naval aggression, and in so doing became the focus of their ire and a target for retribution by British Consul Harry Parkes. Captain Cooper-Key was the talented officer who accompanied Parkes in his search for the Governor, and who personally caught and restrained him after the Consul had been deceived by a decoy. In 1856 Guangdong (Canton) was one of five Chinese ports through which, under the terms of the 1842 Treaty of Nanking, the British were allowed limited commercial access to China. Signed against the background of British aggression and their iniquitous trade in opium, the term of the treaty were ongoing source of offence to the Chinese. For their part the British were dissatisfied with the limited nature of the concessions that had been made to them, and a pretext for further violence was soon found in the 'Arrow Incident' of 1856, in which a vessel with a spurious claim to British registration was seized by the Chinese. The initial focus for hostilities was Canton, which the British approached from their base in Hong Kong. Here they were opposed by Ye Mingchen. In December 1857 a concerted effort to take the city by a combined force of British and French sailors and soldiers met with success. Captain Cooper-Key of H.M.S. Sans Pareil went ashore to command part of the naval brigade in the assault. His men, though initially delayed, scaled the 30 foot high walls under fire, and later accompanied Admiral Sir Michael Seymour on a circuit of the ramparts, disabling the Chinese guns. The capture of their adversary Ye Mingchen was a priority for the British, and Cooper-Key, with 100 men, accompanied the British Consul Harry Parkes on a hunt through the labyrinthine streets. Arriving at a palace, Parkes initially accepted the surrender of a man claiming to be Ye, before Cooper-Key found the real governor attempting to escape, and personally apprehended him with the assistance of his Coxwain. The feather was preserved in his family with a note indicating that it had been taken from Mingchen's own cap. References: Vice Admiral P. H. Colomb, 'Memoirs of Admiral the Right Honbl Sir Astley Cooper Key' Hanes and Sanello, 'The Opium Wars, The Addiction of One Empire and the Corruption of Another'
A Short and Mason Ltd, brass cased pocket clinometer, marked with War Department arrow and Short and Mason Ltd, London, 1906, no. 2780, 2.75'' diameter in leather travelling case and a brass cased prismatic surveyors compass by Troughton and Simms, London, 3'' green dial and two tinted filters in leather travelling case (2)
A 9ct gold amethyst bracelet, c.1960,with a series of seven, oval, mixed cut amethysts, each one rub set to a plain collet with a concave textured frame, all joined by pairs of jump rings with bead spacers, to a concealed box clasp and safety chain, bracelet 175mm long,together with a single stone amethyst pendant,with a pear-shaped Brazilian cut amethyst, claw set to a plain collet with an arrow head bale, grain set with two eight cut diamonds as a pierced lozenge. Marked 750. Pendant 31 x 15mm, 5.73g (2)
A pair of late Victorian diamond cluster drop earrings,with an arrow point top, grain set with a rose cut diamond. A circular cluster suspended below with a rose cut diamond, claw set to the centre, surrounded by rose cut diamonds, claw set to a scalloped gallery with a two row underbezel. Later post and butterfly fittings. Tested as silver backed in 18ct gold. 17mm long, 3.13g (2)
20th-19th century BC. A haematite cylinder seal fragment with figures and cuneiform text; accompanied by an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: Top of Cylinder Seal of Hematite, 14 x 12 mm. The design consists of four standing figures: on the right is the goddess Ishtar, arrow-heads rising from one shoulder, and holding a double-lion-headed club. Facing her is the god with mace, the tip of the mace just visible under his bib. He is wearing a deep-brimmed hat. Behind the god with the mace is a Lamma-goddess in horned tiara and holding up both hands. On the far left is a god, also in horned tiara, holding an object in one hand. There is one filling motif: a monkey by the Lamma's hands. Though this is only the top portion, it was a very interesting seal, and well cut. It is Old Babylonian, c. 1900-1800 B.C., from Mesopotamia. 5.79 grams, 14mm (1/2"). Property of a London gentleman; part of his family collection since the 1970s; supplied with a museum-quality impression and scholarly note by Professor W. G. Lambert. This lot is part of a single collection of cylinder seals which were examined in the 1980s by Professor Lambert and most are accompanied by his own detailed notes; the collection has recently been reviewed by Dr. Ronald Bonewitz. Fair condition.
8th-6th century BC. A haematite cylinder seal with a winged bull standing facing left, away from a standing archer who wears a long fringed robe and aims an arrow at the bull, on either side of the archer are small trees, line borders at top and bottom. Cf. Collon, D. First Impressions. Cylinder Seals in the Ancient Near East, London, 2005, item 733; and Collon, D. Catalogue of the Western Asiatic Seals in the British Museum. Cylinder Seals V. Neo-Assyrian and Neo-Babylonian Perods, London, 2001, p.44, no. 30 (text), pl. III, 30 (picture"). 16 grams, 39mm (1 1/2"). Property of a London gentleman; part of his family collection since the 1970s; supplied with a museum-quality impression. This lot is part of a single collection of cylinder seals which were examined in the 1980s by Professor Lambert and most are accompanied by his own detailed notes; the collection has recently been reviewed by Dr. Ronald Bonewitz. Fine condition.
3rd-4th century AD. A marble casket carved in high relief on all four sides depicting Diana and Apollo; Side A: a male figure looking back and holding a staff, next to him a female with hand to head, dog at feet, standing figure of Diana(?) with hand on dog's head and looking back to other female, in front Apollo(?) with bow and arrow, dog at feet; in front two nude females, one holding a vase on shoulder; short side B: Diana(?) holding a bow, in front Apollo(?) with arm extended to back of the head and hand resting on dog seated at his feet, to the side Juno(?) in long robes and elaborate hairstyle, behind her Mars(?) holding a spear; Side C: Venus(?) with two males standing before her, behind them a female standing before a male with dog between; Side D: two standing males with female before them in long robes, behind her a male with hand to head. 805 grams, 12.5cm (4 3/4"). Property of an English gentleman; formerly in a South German collection; previously from an old German collection formed in the 1980s. The scenes possibly relate to the Niobids, who were the children of Amphion of Thebes and Niobe, slain by Apollo and Artemis because Niobe, born of the royal house of Phrygia, had boastfully compared the greater number of her own offspring with those of Leto, Apollo's and Artemis' mother: a classic example of hubris. [A video of this lot is available on the TimeLine Auctions website] Fine condition, lid absent. Very rare.
1549-1550 AD. Second period. Obv: crowned profile bust with EDWARD VI D G AGL FRA Z HIB REX legend with lozenge stops and 'arrow' mintmark for the Tower I mint. Rev: crowned arms with 'E R' initials and SCVTVM FIDEI PROTEGET EVM legend with rosette stops. S. 2438; N. 1911; SCBI 47 (Schneider 1), 672 (same dies"). 4.91 grams. ("). Near very fine; clear bust. Rare.
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32198 item(s)/page